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• • OLIVER DITSON COMPANY « e 



THE 



DAMNATION OF FAUST 



A DRAMATIC LEGEND IN FOUR PARTS. 



BY 



HECTOR BERLIOZ 





FRENCH AND ENGLISH LIBRETTO WITH 




SYNOPSIS, AUTHOR'S PREFACE, AND MUSIC 




BOSTON 




OLIVER DITSON COMPANY 


New York 


Chicago 


C H. DITSON & CO. 


LYON & HEALY 


867 Broadway 


Cor. Wabash Ave. and Adams St 



Copyright, mdcccxcviii, by Oliver Ditson Company. 



MUSIC LIBRARY 

University of California 
Berkeley 



THE DAMNATION OF FAUST. 

(HECTOR BERLIOZ.) 



PERSONAGES. 



MARGUERITE . . Mezzo-Soprano . 
FAUST Tenor. 



MEPHISTOPHELES . Barito >.or Bass„ 
BRANDER Bass. 



CONTENTS. 

Author's Preface. 
Synopsis 

PART I. 

i. Introduction i* 

2. Song and Dance of the Peasants 10 

3. Hungarian March 28 

PART II. 

4. Faust Alone in his Study • • • 35 

5. Easter Hymn 39 

6. Drinking Chorus in Auerbach's Cellar 75 

7. Brander's Song of the Rat 92 

8. Fugue ("Amen ") on the Theme of Brander's Song . . .101 

9. mephistopheles' song of the flea 109 

10. The Banks of the Elbe (Air, Mephisto) 117 

n. Chorus of Sylphs and Gnomes (Faust's Dream) 119 

12. Ballet of Sylphs 175 

13. Finale. — Chorus of Soldiers and Students . 184 

PART III. 

14. Drums and Trumpets Sounding the Retreat 212 

15. Air, Faust in Marguerite's Chamber 214 

16. The King of Thule, Gothic Song (Marguerite) 227 

17. Evocation 233 

18. Minuet of the Will-o'-the-Wisps 237 

19. Serenade, Mephisto with Chorus of Will-o'-the-Wisps 248 

20. Trio and Chorus (Marguerite, Faust, and Mephisto) 261 

PART IV. 

21. Romance (Marguerite) 303 

22. Forest and Caverns, Faust's Invocation to Nature 317 

23. Recitative and Hunt 322 

24. The Ride to Hell, Duet (Faust and Mephisto) 330 

25. Pandemonium, Chorus of Lost Souls and Demons .... ... 341 

26. Heaven, Chorus of Celestial Spirits (Marguerite's Apotheosis) . 357 

* The page numbers refer to the score with piano accompaniment, published by Oliver Ditson Company. 

l%7 



AUTHOR'S PREFACE. 



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This work, as is indicated by its title, is not founded 
on the principal idea of Goethe's Faust, for in that 
illustrious poem, Faust is saved. 

The author of The Damnation of Faust has 
only borrowed from Goethe a certain number of 
scenes adapted for introduction into the plan that he 
had laid out, scenes the beauty of which were, to his 
mind, irresistible. But, even had he followed faith- 
fully the idea of Goethe, he would nevertheless have 
incurred the reproach which has been addressed to 
him (at times with severity), of having mutilated a 
monument. 

It is a well-known fact that it is absolutely imprac- 
ticable to set to music a poem of considerable length 
which was not written with this object in view, with- 
out introducing many modifications. Of all existing 
dramatic poems, Faust is, without doubt, the most 
impossible to sing in its entirety, from beginning to 
end. Now, if, while adhering to the principal idea of 
Goethe's Faust, it becomes necessary, in order to 
make of it the subject of a musical composition, to 
modify the masterpiece in various ways, the crime of 
treason against genius is quite as evident in this case 
as in the other, and is open to equal criticism. 

From the foregoing, it would appear that musicians 
should be prohibited from selecting famous poems as 
themes for their compositions. By this rule we would 
be deprived of the opera of Don Juan, by Mozart, 
for the libretto of which Da Ponte has modified the 
Don Juan, of Molière; we would be without his 
Marriage of Figaro, in which the text of Beaumar- 
chais's comedy has certainly not been respected ; nor 
yet, for the same reason, should we possess The 
Barber of Seville, by Rossini; nor Alceste, by 
Gluck, which is simply a paraphrase of the tragedy 
by Euripides; nor his Iphigenia in Aulis, in which 
needless and regrettable changes have been made in 
the verses of Racine, verses which, in their pure 
beauty, might well have been introduced in the recita- 
tives The numerous operas founded on the dramas 
of Shakespeare would have remained unwritten, and 
finally, it would be necessary to condemn Spohr for 
having produced a work which also bears the name 
Faust, in which arc to be found the characters of 



Le titre seul de cet ouvrage indique qu'il n'est pas 
basé sur l'idée principal du Faust de Goethe, puisque, 
dans l'illustre poëme, Faust est sauvé. L'auteur de 
la Damnation de Faust a seulement emprunté à 
Goethe un certain nombre de scènes qui pouvaient en- 
trer dans le plan qu'il s'était tracé, scènes dont la 
séduction sur son esprit était irrésistible. Mais fût-il 
resté fidèle à la pensée de Goethe, il n'en eût pas 
moins encouru le reproche, que plusieurs personnes lui 
ont déjà adressé (quelques-unes avec amertume) 
d'avoir mutilé un monument. 

En effet, on sait qu'il est absolument impra- 
ticable de mettre en musique un poëme de quelque 
étendue, qui ne fut pas écrit pour être chanté, sans 
lui faire subir une foule de modifications. Et de tous 
les poëmes dramatiques existants, Faust, sans aucun 
doute, est le plus impossible à chanter intégrale- 
ment d'un bout à l'autre Or si, tout en conservant 
la donnée du Faust de Goethe, il faut, pour en faire le 
sujet d'une composition musicale, modifier le chef- 
d'œuvre de cent façons diverses, le crime de le lèse- 
majesté du génie est tout aussi évident dans ce cas 
que dans l'autre et mérite une égale réprobation. 

Il s'ensuit alors qu'il devrait être interdit aux musi- 
ciens de choisir pour thèmes de leurs compositions 
des poëmes illustres Nous serions ainsi privés de 
l'opéra de Don Juan, de Mozart, pour le livret duquel 
Da Ponte a modifié le Don Juan de Molière: nous 
ne posséderions pas non plus son Mariage de Figaro, 
pour lequel le texte de la comédie de Beaumarchais 
n'a certes pas été respecté; ni celui du Barbier de 
Seville, de Rossini, parla même raison; ni Y Alceste 
de Gluck, qui n'est qu'une paraphrase informe de la 
tragédie d'Euripide ; ni son Iphigénie en Attlide, pour 
laquelle on a inutilement (et ceci est vraiment coup- 
able) gâté des vers de Racine, qui pouvaient par- 
faitement entrer avec leur pure beauté dans les réci- 
tatifs; on n'eût écrit aucun des nombreux opéras qui 
existent sur des drames de Shakespeare; enfin, M. 
Spohr serait peut-être condamnable d'avoir produit une 
œuvre qui porte aussi le nom de Faust, où l'on trouve 
les personnages de Faust, de Méphistophélès, de 
Marguerite, une scène de sorcières, et qui pourtant ne 
ressemble point au poëme de Goethe. 

(iii) 

813 



iv 



PREFACE. 



Faust, Mephistopheles, Margaret, and with a Witches' 
Scene, but which, however, bears no resemblance to 
Goethe's poem. 

A reply may readily be found to the detailed criti- 
cism which has been made on the text book of The 
Damnation of Faust. 

Why, it has been asked, has the author placed his 
characters in Hungary? 

Because he wished to introduce a piece of instru- 
mental music, the theme of which is Hungarian. He 
confesses this frankly. He would have placed them 
anywhere else, had he had the least musical reason 
for doing so. Has Goethe himself, in the second 
Faust, not taken his hero to Sparta, to the palace of 
Menelaus? 

The legend of Doctor Faust is capable of the most 
varied treatment; its adaptability is world wide; it 
had been dramatized by others before Goethe; it had 
long been known, under divers forms in the literary 
world of Northern Europe, when he made use of it, 
and even Marlowe's Faust had, in England, a cer- 
tain popularity and celebrity, which, however, dimin- 
ished and disappeared before the masterpiece of 
Goethe. 

As regards the German verses which are sung in 
The Damnation of Faust, and which are Goethe's 
verses with changes, they must, evidently, be as dis- 
pleasing to the German ear, as are to the French 
ear the verses of Racine, so needlessly altered in the 
iphigenia of Gluck. 

It must be remembered, however, that the score of 
this work was written from the French text, which, in 
certain places, is itself a translation of the German, 
and that in conformity with the desire of the composer 
to submit his work to the judgment of the most musi- 
cal public in Europe, it has been necessary to write in 
German a translation of the translation. 

These remarks may perhaps seem somewhat puerile 
to those powerful minds that grasp at once the whole 
of a subject, and who think it unnecessary to have it 
proved to them that there is no desire to dry up the 
Caspian Sea, or to blow up Mount Blanc. Mr. H. 
Berlioz has, nevertheless, felt it incumbent on him to 
offer them, so much does he deprecate being accused 
of unfaithfulness to the religion of his life, or of hav- 
ing failed, even indirectly, in the respect due to genius. 



Maintenant, aux observations de détail qui ont été 
faites sur le livret de la Damnation de Faust, il sera 
également facile de répondre. 

Pourquoi l'auteur, dit-on, a-t-il fait aller son per- 
sonnages en Hongrie? 

Parce qu'il avait envie de faire entendre un mor- 
ceau de musique instrumentale dont le thème est 
hongrois. Il l'avoue sincèrement. Il l'eût mené par- 
tout ailleurs, s'il eût trouvé la moindre raison musi- 
cale de le faire. Goethe, lui-même, dans le second 
Faust, n'a-t-il pas conduit son héros à Sparte, dans le 
palais de Ménélas ? 

La légende du docteur Faust peut être traitée de 
toutes manières: elle est du domaine public; elle 
avait été dramatisée avant Goethe ; elle circulait 
depuis longtemps sous diverses formes dans le monde 
littéraire du nord de l'Europe, quand il s'en empara ; 
le Faust de Marlow jouissait même, en Angleterre, 
d'une sorte de célébrité, d'une gloire réele que Goethe 
a fait pâlir et disparaître. 

Quant à ceux des vers allemands, chantés dans la 
Damnation de Faust, qui sont des vers de Goethe 
altérés, ils doivent évidemment choquer les oreilles alle- 
mandes, comme les vers de Racine, altérés sans raison 
dans Y Iphigénie de Gluck, choquent les oreilles fran- 
çaises. Seulement, on ne doit pas oublier que la 
partition de cet ouvrage fut écrite sur un texte fran- 
çais, qui, dans certaines parties, est lui-même une tra- 
duction de l'allemand, et que, pour satisfaire ensuite 
au désir du compositeur de soumettre son œuvre au 
jugement du public le plus musical de l'Europe, il a 
fallu écrire en allemand une traduction de la traduc- 
tion. 

Peut-être ces observations paraîtront-elles puériles 
à d'excellents esprits qui voient toute de suite le fond 
des choses et n'aiment pas qu'on s'évertue à leur 
prouver qu'on est incapable de vouloir mettre à sec la 
mer Caspienne ou faire sauter le mont Blanc. M. H. 
Berlioz n'a pas cru pouvoir s'en dispenser, néanmoins, 
tant il lui est pénible de se voir accuser d'infidélité à 
la religion de toute sa vie, et de manquer, même indi- 
rectement, de respect au génie. 



SYNOPSIS OF 

THE DAMNATION OF FAUST. 



( From the A". Y. Musical Review, January 2Ç, 1880.) 



The Faust of Berlioz cannot be taken as an exact para- 
phrase of the poem of Goethe. But, if the author makes 
undesirable omission of some important scenes, such as in 
the prison and in the church, and if he deprives himself of 
the character of Valentine with its admirable episodes, he 
treats certain situations neglected by earlier (and by later) 
composers, and has known how to compose a poem with 
two essential qualities, color and life. Berlioz carefully jus- 
tifies his free use of the original poem in these words : 
"The title of my work sufficiently indicates that it is not based 
upon the principal idea of Goethe's Faust, for in the illus- 
trious poem Faust is saved." Berlioz has borrowed from 
Goethe only a certain number of scenes which entered into 
his plan, and which seem to have attracted him irre- 
sistibly. The very fact that he should have substituted 
Faust's descent to hell for that portion of the German work 
in which the hero is saved, shows a characteristic phase of 
his genius. Berlioz, not unlike Edgar Allan Poe, took a 
peculiar delight in the horrible; and he could not possibly 
resist so favorable an opportunity to send a man to the 
devil, with all the accompanying terrors. 

The score of La Damnation de Faust is divided into 
four parts, containing nineteen scenes and an epilogue. 
The scene opens without an overture. Faust is wandering 
amid the plains of Hungary, singing a monologue to the 
awakening spring, accompanied by a lovely symphonic 
picture. It is important to note in these passages fragments 
of the march, suggesting the approach of the Hungarian 
soldiers and of the Rondo des Paysans (introduced later) in 
condensed rhythm, piccolo, oboes, bassoons, and horns 
alternately intoning these fragments. The Rondo of the 
peasants is cleverly orchestrated, so as to preserve the pas- 
toral tone throughout. Flutes and oboes have the melody, 
which is accompanied almost entirely by the clarionet, 
bassoons, and horns, and only occasionally by strings. 

This gayety calls from the unhappy Faust a regretful 
sigh, breathed forth in a musical phrase of deep melan- 
choly. Then passes a troop, with its martial sounds. This 
is the popular Rakoczy March. Berlioz here developed the 
theme of the Hungarian national hymn wonderfully, and 
then arranged it for orchestra, and it is to his brilliant scor- 
ing that the march owes its universal popularity. While 
he himself considers its introduction here a caprice, it is of 
deeper poetic import. For it enables Berlioz to present in 
the first part two powerful contrasts : Faust's melancholy 
and the peasants' mirth ; Faust's renewed gloom and the 
boisterous joy of the Hungarian soldiers. 

The second part begins. Faust is in his laboratory, eager 
for knowledge, weary of life. As he raises the poisoned 
death-cup to his lips, comes the sound of Easter music. 
This scene, taken textually from Goethe's poem, is of great 



beauty. The désillusion and the ardor of Faust are painted 
with a masterhand. The Easter hymn, after a short intro- 
duction for sopranos and altos accompanied by double 
basses, is first sung by male voices only. When after- 
ward sopranos and altos join, and the full orchestra 
spreads its shimmer over the choral masses, the effect is of 
a sublime majesty. The apparition of the demon is treated 
in a few highly colored measures, and the concise motive 
with which Mephistopheles is introduced, and which occurs 
several times later on, is the earliest example of a leading 
motive in an oratorio. The demon transports his lord and 
master to the tavern of Auerbach. Here Berlioz has given 
a literal rendering of the original scene and words. The 
drinking-chorus has an irresistible entrain. Then Blan- 
der, heavy and vinous, as suits his listeners, sings the stan- 
zas of the Song of the Rat. Hardly has the crowd pro- 
nounced its lamentable Requiescat, when begins a " dishev- 
elled " fugue on the word Amen. This is a musical jest on 
the part of the composer, who was glad thus to turn the 
tables upon his detractors, the ardent defenders and com- 
pilers of pseudo-classical fugues. For Berlioz himself by 
no means underrated the power of the artistic fugue, and 
has introduced several fugatos into La Damnation de Faust. 
The fugue ended, the devil flings at the gaping crowd his 
bizarre Song of the Flea. This is one of the most interest- 
ing parts of the work. For Berlioz has described, by means 
of clever forms in the accompaniment, the skipping of the 
flea in various directions. Further on occurs what might 
be described as a skipping-climax; and that part of the 
song which mentions the slinging flea is accompanied by 
a quick thrust on the kettle-drum. It is interesting to note 
the fact that even Beethoven, not disdaining program- 
music, has composed music to the same text with an equally 
descriptive accompaniment, ending with a rapid passage, 
whose notes are all, with Beethoven's characteristic humor, 
marked to be run down with the thumb. To accomplish 
this, the tip of the thumb closes on the third finger-tip — an 
exceedingly suggestive position under the circumstances. 

Under the title, Bosquets et Prairies au Bord de PElbe, 
Berlioz has transcribed the end of the third scene, and com- 
posed a marvel of graceful, fairy-like inspiration. The demon 
murmurs into the ear of Faust a softly penetrating melody. 
The Chorus of the Gnomes and the Ballet of the Sylphs der- 
ail word-description. The slumber-chorus in this scene is 
perhaps the most difficult number of the work. The rhythm 
of the soft melody taken by the altos is exceedingly catch- 
ing. It begins with a part for chorus and orchestra in | 
time {Andante) ; then the chorus sings in % time [Allegro), 
while the strings continue in the old tempo, so that three 
of the bars of the chorus correspond to one bar of the 
strings. The rest of the orchestra continues all through in 

(v) 



VI 



SYNOPSIS. 



the same tempo with the chorus. In the following Bal- 
let of the Sylphes the melody is that of the slumber-song, 
built on the organ-point D, which the basses sound through- 
out the entire movement. The close connection between 
these parts and, indeed, the intimate poetic relation exist- 
ing between all the numbers of this work, show how nec- 
essary to its unity a complete performance is, and how ill- 
advised it is to present only fragments of it to the public. 
Faust perceives amid his dreams the fair image of Mar- 
guerite, and the demon hurries him away through the groups 
of soldiers and students, who are singing of war and of love. 

The night falls; drums and clarions sound the "re- 
treat." Faust penetrates into the young girl's chamber. 
Marguerite enters, disturbed and troubled. She sings, to 
distract her thoughts, an ancient ballad of archaic form, of 
which the last words die like a soft kiss upon her lips. 

Here reappears the poem of Berlioz. All the end of 
this part, excepting the serenade and the dialogue of the 
lovers, is his invention. At a sign of the demon, the Fol- 
lets (will-o'-the-wisps) rome flying to Marguerite's door — 
(this grotesque minuet is a worthy pendant of the ballet of 
the sylphs) and Mephistopheles warbles, with his scoffing 
voice, an enchanting serenade. At the end of the Evoca- 
tion des Follets, which is superbly orchestrated, occurs a 
Presto, whose melody is new, and which eventually devel- 
ops into the serenade of Mephistopheles, as though he had 
imbued the follets with his spirit. In the accompaniment 
of the serenade, Berlioz has reproduced the peculiar effect 
of the mandolin by pizzicato crescendos for violas and sec- 
ond violins. Faust and Marguerite are alone, intoxicated 
with the song, and Faust breathes forth his love in a phrase 
of deepest passion. Their voices unite ; they soar together. 
The demon enters — "Fly!" he cries, "the mother, the 
friends are at hand ! " And the final trio and chorus close 
in a superb sweep of passion and Satanic joy. The danger 
presses, the tumult increases, and the demon drags Faust 
away, leaving the defenceless, unhappy Marguerite. In 
this end of the third part the composer's inspiration, un- 
trammelled by an impossible theatrical representation, 
has produced a picture above praise, taking rank with the 
noblest examples of dramatic music. 

At the opening of the fourth part, Marguerite is in her 
chamber, weeping, despairing, hoping. She seats herself 
at her spinning-wheel, and murmurs a melody full of 
anguish. As Marguerite's passion awakens at the thought 
of her lordly lover, the plaintive echo of her melody passes 
over the orchestra, and she flies to the window. In the 
distance is heard the song of the students, the last echo of 
the " retreat." Nightfalls. Everything recalls to the un- 
happy child the remembrance of the one evening without a 
morrow. " He comes not ! " she cries, and falls, half dead 
with remorse and anguish. In the following number For- 
ests and Caverns, the musician has been inspired by the 
fine Invocation to Nature, which is in the corresponding 
scene of Goethe's poem. 

The orchestral and vocal composition translates mar- 
yelously this burning cry, this ardent aspiration after in- 
finite happiness. But the demon appears, recounting the 
remorse of the loved one, her crime, her imprisonment, her 
approaching death. It will be remembered that nothing 
has been said as yet of a compact between Faust and 
Mephistopheles. With delicate poetic feeling, Berlioz has 
allowed Mephistopheles to appear only as the jolly com- 
panion, not as the tempting demon. But now, after 
playing upon Faust's sympathies for the unhappy girl, 
until he is seized with terrible anguish and remorse, he 
throws off the mask; and Faust, willing to sacrifice all, even 
eternal happiness, for his love, seals the compact. It is then 



Mephistopheles calls for the black steeds of hell. " To me, 
Vortex, Giaour ! " he cries, and, mounted on them, the 
devil and Faust rush into space. It is a flight to the abyss. 
Here Berlioz gives free rein to the boldest imaginings. The 
unbridled race of the coursers of hell, the incantations of 
witches, wild exclamations of Faust, the sneers of the devil — 
all are depicted in a frightful unloosing of orchestral masses. 

Berlioz ends the legend with two strange compositions of 
rare energy, and sharply contrasted — Pandemonium: it 
is hell with a sinister gnashing, with its devouring joys; 
it is the triumph of the demon, clutching his prey in his 
talons. Heaven: it is pure, ineffable bliss; it is the appar- 
ition of the unhappy sinner; it is the divine, angelic con- 
cert, calling to the abode of the blessed the repentant, 
purified Marguerite. 

La Damnation de Faust is a work of great worth. Ber- 
lioz has been helped in his perilous attempt by the richest 
imagination, fired by the grandeur and the ideal beauty of 
his model. Even when he departs from the original text, 
and, by combining several episodes, produces an entirely 
different situation, such as the love-scene interrupted by 
the arrival of the demon, the musician is still sustained by 
the poet, and his inspirations pour richly, grandly forth. 
It is a work worthy to be placed forever side by side with 
the original drama. 

From the first performance, in 1846, until 1869. frag- 
ments of La Damnation were given twice in Paris. In 
April, 1849, tne chorus and ballet of the sylphs and the 
Hungarian March were given by the Conservatoire. 

In April, 1861, were given other extracts — an air of 
Mephistopheles, the chorus of sylphs during the sleep of 
Faust, the waltz of the sylphs, and the double chorus of 
students and soldiers. This performance met with little 
success, and caused great commotion. Scudo, the critic, 
always remarkable for his animosity toward the author, de- 
clared that " such music " would never be heard again in 
" such a place." In 1869 M. Litolff caused to be given, at 
the Opéra concerts, the waltz of the sylphs and the minuet 
of the follets. The public surprise at hearing these mar- 
vels of grace is still remembered. Soon after, M. Reyer 
produced the air of the demon and the scene of Faust's 
sleep, at the beautiful festival, arranged in honor of Ber- 
lioz, at the Opéra. Since that time these numbers have 
been known and admired by all artists. In 1872 the Con- 
servatoire gave again all the fragments played eleven years 
before — this time with great success. 

On the 18th of February, 1877, La Damnation de Faust 
was given as a whole at the "Concerts Populaires," M. 
Pasdeloup conducting, and won a great success. In the same 
year the orchestra of the Châtelet was obliged, in compli- 
ance with the public wish, to give it six times in succession, 
always before full houses. " The work of Berlioz," says a 
contemporary, " has not only been applauded, it has been 
understood." On the 30th of March, 1878, the "Concerts 
Populaires " announced the twenty-first performance of 
La Damnation de Faust. The" Hippodrome " closed the 
series of festivals for the year by a solemnity in honor of 
Berlioz, given on the anniversary of his death (March 8, 
1869), and the government took part in this manifestation. 

Whoever will glance at the orchestral score of La Dam- 
nation de Faust will recognize the genius of its composer, 
the folly of his detractors, and the enterprise of the Sym- 
phony Society. Berlioz's time has come at last; and soon, 
no doubt, the Parisians who hooted and laughed at him 
during his life, will dedicate a street to his memory. When 
thi: occurs, it is to be hoped that "Rue Berlioz" may be 
posted on the very house in which Scudo wrote his fanati- 
cal opinions. 



DAMNATION OF FAUST. 



DRAMATIC LEGEND 



IN FOUR PARTS. 



FIRST PART. 



SCENE I. 

(A Plain in Hungary.) 

Faust {alone in the fields at sunrise). Now 

ancient Winter hath made place for 

Spring, 
And the fountain and stream are free 

again; 
The sun, in his might, sends his countless 

beams 
To gladden with flow'rs the far-spreading 

plain. 
I feel the breath of morn through humid 

airs returning, 
I feel a purer flame within my bosom 

burning. 
Above, the wak'ning birds greet the day 

with their song, 
Mid tall slow waving reeds the swift 

stream glides along. 
Oh ! happy life, to dwell, to dwell in 

restful solitudes, 
Far from the strife and din of warring, 

warring multitudes. 



Orchestra. 



(Mark distinctly in the horn and piccolo parts, the frag- 
ments of the Dance of Peasants and the flourish of the 
Hungarian March, which will soon be heard in entirety; 
these distant rumors gradually break in on the calm of the 
pastoral scene.) 



PREMIÈRE PARTIE. 



SCENE PREMIÈRE. 

(Plaine de Hongrie.) 

Faust (seul, da?is les champs, au lever du 
soleil). Le vieil hiver a fait place au 
printemps ; 

La nature s'est rajeunie ; 
Des cieux la coupole infinie 
Laisse pleuvoir mille feux éclatants. 

Je sens glisser dans l'air la brise matinale; 

De ma poitrine ardente un souffle pur 
s'exhale. 

J'entends autour de moi le réveil des 
oiseaux, 

Le long bruissement des plantes et des eaux. 

Oh ! qu'il est doux de vivre au fond des 
solitudes, 

Loin de la lutte humaine et loin des multi- 
tudes ! 



Orchestre Seul. 



(Des fragments de la Ronde des paysans et de la fanfare 
de la Marche hongroise se distinguent au travers de la 
trame instrumentale. Lointaines rameurs agrestes et 
guerrières, qui commencent à troubler le calme de la 
scène pastorale.) 

(l) 



DAMNATION OF FAUST. 



SCENE II. 

(Chorus and dance of peasants.) 

The shepherd early dons his best, 
With a posy smartly decks his breast 

And a bright knot of ribbons gaily living, 
Under the lime-tree lass and lad, there lass 

and lad. 
Now all are dancing there like mad ! 
Ha, ha, huzza ! 
Hip ! hip ! huzza ! 
All around the lime-tree whirling. 

Faust. Whence come those distant cries, that 

distant festive sound ? 
Already man and maid have begun the gay 

round ; 
Are dancing and singing fast and faster the 

measure, 
My mournful soul is envious of their 

pleasure. 

Song. Now all are swaying to and fro, 
Ev'ry cheek has a warmer glow. 

Right and left, round and round, the 
dancers flying, 
With quickened breath and heated brow ; 

ay, with heated brow ; 
At last they pause, they slacken now, 
Ha, ha, huzza ! 
Hip ! hip ! huzza ! 
Such panting and such sighing. 

Now hold your tongue, you faithless one ! 
For vows like yours are easily won; 

Lightly won, lightly won, and as lightly 
broken. 
And yet he drew the maid aside, 
While from the Linden echoed wide, 
Ha, ha, huzza ! 
Hip ! hip ! huzza ! 
Now take thy lover's token. 



SCENE III. 

(Another part of the plain. Approach of Hungarian 
troops.) 

Faust. Now with a martial sound, war-like 
strains fill the air, 

Lo ! the Danube's brave sons for the com- 
bat prepare , 

They eagerly thirst for the fray, 



SCENE II. 

(Danse de paysans.) 

Ronde en Chœur. Les bergers quittent leurs 
troupeaux ; 
Pour la fête ils se rendent beaux, 
Rubans et fleurs sont leur parure; 
Sous les tilleuls, les voilà tous 
Dansant, sautant comme des fous! 
Ha ! ha ! ha ! ha ! 
Landerira ! 
Suivez donc la mesure ! 

Faust. Quels sont ces cris, ces chants? quel 
est ce bruit lointain? . . . 
Ce sont des villageois, au lever du matin. 
Qui dansent en chantant sur la verte pelouse 
De leurs plaisirs ma misère est jalouse. 



Deuxième Couplet de la Ronde. Ils pas- 
saient tous comme l'éclair, 
Et les robes volaient en l'air ; 
Mais bientôt on fut moins agile : 
Le rouge leur montait au front, 
Et l'un sur l'autre dans le rond, 
Ha ! ha ! ha ! ha ! 
Landerira ! 
Tous tombaient à la file. 



Troisième Couplet. Ne me touchez donc 
pas ainsi ! 
— Paix ! ma femme n'est point ici ! 
Profitons de la circonstance ! 
Dehors il l'emmena soudain, 
Et tout pourtant alla son train, 
Ha ! ha ! ha ! ha ! 
Landerira ! 
La musique et la dance. 



SCENE III. 

(Une autre partie de la plaine. — Une armée qui s'avance.) 

Faust. Mais d'un éclat guerrier ces cam- 
pagnes se parent ! 

Ah ! les fils du Danube aux combats se 
préparent ! 

Avec quel air fier et joyeux 



DAMNATION OF FAUST. 



3 



Their armor brightly flashing in the broad 

light of day ! 
All hearts respond, ev'ry bosom is glowing. 
Mine alone cold and mute, while all eyes 

are o'erflowing. 

(Hungarian March. The troops pass. Faust retires.) 

Orchestra. 

(The theme of this march, developed and orchestrated 
by M. Berlioz, is celebrated in Hungary under the name 
Rakoczy. It is very old, the author unknown; and is the 
war song of the Hungarians.) 



Ils portent leur armure! et quel feu dans 

leurs yeux ! 
Tout cœur frémit à leur chant de victoire ; 
Le mien seul reste froid, insensible à la 

Sfloire. 



(Marche hongroise 
s'éloigne.) 



Les troupes passent. F'aust 
Orchestre skit.. 



(Le thème de cette marche, qui M Berlioz a instru- 
menté et développé, est célèbre en Hongrie sous le nom de 
Rakoczy; il est très ancien, d'un auteur inconnu; c'est le 
chant de guerre des Hongrois. 



SECOND PART. 



SCENE IV. 

(In North Germany.) 

Faust {alone in his study). Nothing eases 

my pain ! From the beauty of nature 
Careworn I turn'd away, 
All unmoved, I behold each familiar feature 
Of the ivy-clad home of my childhood's 

glad day, 
Life is naught, then, but sorrow, and the 

darkness unhallow'd 
But sheds a deeper gloom in my life over- 

shadow'd. 
Condemn'd to dwell in the bondage of woe, 
Oh, earth, is there no joy, but only care 

below ? 
Hast no blossom or beauty for me of thy 

treasure ? 
Earth, is thy lap a grave, that hideth ev'ry 

pleasure ? 
At last I will be free ! But I tremble — 

oh, no, 
The veil that hides the truth shall obscure 

it no more ! 
Now come thou down, thou cup of stainless 

crystal, 
Come fill'd up to thy brim, — let me drain 

from thy bowl 
A draught of quiet peace to my wearying 

soul. 

(He raises the cup to his lips. Chimes of bells are 
heard, and the singing of Easter hymns in a neighboring 
church.) 



DEUXIEME PARTIE. 



SCENE IV. 

(Nord de l'Allemagne.) 

Faust (seul, dans son cabinet de travail} . 

Sans regrets j'ai quitté les riantes cam- 
pagnes 

Où m'a suivi l'ennui ; 

Sans plaisirs je revois nos altières mon- 
tagnes ; 

Dans ma vieille cité je reviens avec lui. 

Oh ! je souffre ! je souffre ! et la nuit sans 
étoiles, 

Qui vient d'étendre au loin son silence et 
ses voiles, 
Ajoute encore à mes sombres douleurs. 

O terre ! pour moi seul tu n'as donc pas de 
fleurs ! 

Par le monde, où trouver ce qui manque à 
ma vie? 

Je chercherais en vain, tout fuit mon âpre 
envie ! 

Allons, il faut finir ! . . Mais je tremble . . 
Pourquoi 

Trembler devant l'abîme entr'ouvert devant 
moi ? . . . 

O coupe trop longtemps à mes désirs ravie, 

Viens, viens, noble cristal, verse-moi le 
poison 
Qui doit illuminer 
Ou tuer ma raison. 

(Il porte la coupe à sa bouche. Son des cloches. Cnants 
religieux dans l'église voisine.) 



DAMNATION OF FAUST. 



Easter Hymn. 

Chorus. Christ is risen from the dead ! 
Has broken the tomb, 
Gladly hail the token, 
Sin's fetters are broken, 
Reversed is the doom, 
Now the Master hath ascended. 
Rejoice, for your bondage is o'er. 
And the reign of sin is ended. 
Praise Him forever more! 

Alas ! those He loved can but languish 

And suffer mid pain and annoy. 

Oh, Master! we envy Thy joy. 

In Thy joy forget not the depth of our 

anguish. 
Thy loved ones suffer, yea, but languish 
And suffer mid pain and annoy. 
Hosanna ! Hosanna ! 



Faust. O pious strains ! On my spirit descend- 
ing, 
With holy soothing balm, a message from 

the past ! 
The power unending 
Of love's resistless might its spell has o'er 

me cast. 
Once my songs ascended in holy accents 

mild, 
Its hope and joy were blended, and I a happy 

child, 
Through the sweet scented meadow, 
In the light without shadow, 
Softly sang as I strayed. 
Then the kiss of the love of Heaven 
In calm and peaceful bliss touch'd my soul 

as I prayed, 
And springs of hope and joy, hope and joy 

were given ! 

But ah ! why seek, ye heav'nly anthems, to 

allure me 
From the depths of my pain! 
Vainly ye would endue me 
With hope or peace ; go seek some happier 

soul 
To respond to your strain. 
Yet how sweetly ye toll, 
With the breath of the morning 
The festal day adorning ! 
Feal on, my bosom glows 
And pure joy overflows ! 



Hymne de la Fete de Pâques. 

Chœur. Christ vient de ressusciter . . . 
Quittant du tombeau 
Le séjour funeste, 
Au parvis céleste 
Il monte plus beau. 
Vers les gloires immortelles 
Tandis qu'il s'élance à grands pas, 
Ses disciples fidèles 
Languissent ici-bas. 

Hélas ! c'est ici qu'il nous laisse 

Sous les traits brûlants du malheur. 

O divin maître ! ton bonheur 

Est cause de notre tristesse. 

Mais croyons en sa parole éternelle. 

Nous le suivrons un jour 

Au céleste séjour 

Où sa voix nous appelle. 

Hosanna ! 

Hosanna ! 

Faust. Qu'entends-je ? . . . O souvenirs! O 
mon âme tremblante ! 

Sur l'air de ces chants vas-tu voler aux 
cieux ? 

La foi chancelante 

Revient, me ramenant la paix des jours 
pieux, 

Mon heureuse enfance, 

La douceur de prier, 

La pure jouissance 

D'errer et de rêver 

Par les vertes prairies, 

Aux clartés infinies 

D'un soleil de printemps ! . . . 

O baiser de l'amour céleste 

Qui remplissais mon cœur de doux pres- 
sentiments 

Et chassais tout désir funeste ! . . 



Faust. {Récitatif.) Hélas! doux chants du 
ciel, pourquoi dans sa poussière 

Réveiller le maudit? Hymnes de la prière, 

Pourquoi soudain venir ébranler mon 
dessein ? 

Vos suaves accords refraichissent mon sein. 

Chants plus doux que l'aurore, 

Retentissez encore : 

Mes larmes ont coulé, le ciel m'a reconquis. 



DAMNATION OF FAUST. 



SCENE V. 

Faust and Mephistopheles. 

Mephistopheles {appearing abruptly). A 
holy pious mood, breathing in accents 
mild ! 

Doctor Faust, I admire this religious sing- 
ing 

And the chime of the bell, 

Have they made it all well 

With your soul by their hymning? 



Faust. Who art thou? Speak! thou who 

seem'st to wrest 
With eyes of flame ev'ry thought from my 

breast ; 
From racking doubt relieve me 

And thy name now reveal me. 

Mephistopheles. Forsooth ! from a sage, 

sir, 
Such a question sounds foolish ! 
I am your friend and guardian 
Who can do whate'er you wish. 
But speak, and I will rain love and joy in 

your life, 
All your most ardent dreams conjured when 

hope was rife. 

Faust. Poor demon, cans't thou show what 
shall prove thy pretences? 

Mephistopheles. Rare enchantments I'll 
weave to dazzle all your senses, 

But first, vou must forsake these old tombs 
for a while ; 

Leave all these dusty shelves. 

Come, dull care to beguile. 

Faust. I consent! 



Mephistopheles. Let us forth ! 

Come and taste life and pleasure, 
While every sense shall glow with a joy 
beyond measure. 

(They disappear in the air.) 

Orchestra. 



SCENE V. 

Faust et Mephistopheles. 

Mephistopheles {apparaissant brusque- 
ment) . O pure émotion ! 
Enfant du saint parvis ! 
Je t'admire, docteur ! Les pieuses volées 
De ces cloches d'argent 
Ont charmé grandement 
Tes oreilles troublées! 



Faust. Qui donc es-tu, toi dont l'ardent 
regard 
Pénètre ainsi que l'éclat d'un poignard, 
Et qui, comme la flamme, 
Brûle et dévore l'âme? 



Mephistopheles. Vraiment, pour un docteur, 

la demande est frivole. 
Je suis l'esprit de vie, et c'est moi qui 

console. 
Je te donnerai tout, le bonheur, le plaisir, 
Tout ce que peut rêver le plus ardent désir 



Faust. Eh bien, pauvre démon, fais-moi voir 
tes merveilles. 

Mephistopheles. Certes ! j'enchanterai tes 
yeux et tes oreilles. 
Au lieu de t'enfermer, triste comme le ver 
Qui ronge tes bouquins, viens, suis-moi, 
change d'air. 



Faust. J'y consens. 

Mephistopheles. Partons donc pour con- 
naître la vie, 
Et laisse le fatras de ta philosophie. 



(Ils disparaissent dans les airs.) 



Orchestre Seul. 



DAMNATION OF FAUST. 



SCENE VI. 

(Auerbach's cellar in Leipzig.) 

Faust, Mephistopheles, Brander. 

(Students, Citizens, and Soldiers.) 

Chorus of Drinkers. Fill up again with 
good Rhine wine ! 

Mephistopheles. Doctor Faust, here behold 
sons of mirth and of folly ! 
All good fellows these, the gayest and most 
jolly! 

Chorus. When good red wine is freely flow- 
ing. 

A fig for the tempest outside ! 

Fill and ne'er heed the wind that's blow- 
ing» 

By punch-bowl and pipe we'll abide ! 

I love the glass that drowneth sorrow ! 

Since I was born I ne'er walk'd straight, 

From my gossip the trick I borrow, 

He ever had a rolling gait ! 

When good red wine, etc. 

Some Students. Who knows a good song 
or a story ? 
Now our throats ai-e tuned and clear. 
Come, Brander, sing, 
Sing and gather fresh glory. 



Brander {tipsy). I do know one, 'tis my 
own, so hear. 

All. Well, begin! we're ready! 

Brander. Let me stand steady, 

Then list while I sing a tale of woe. 

All. Bravo! Bravo! 



Song of the Rat. 

Brander. Master rat lived in the cellar, 
Fared on butter and on fat ; 
And so stout did he grow 
That Luther had envied the paunch of this 

rat. 
One day the cook with purpose deadly 
Laid poison'd meats upon his track; 



SCÈNE VI. 

(La cave d'Auerbach à Leipzig.) 

Faust, Mephistopheles, Brander. 

(Etudiants, Bourgeois, et Soldats.) 

Chœur de Buveurs. A boire encor ! Du vin 
Du Rhin! 

Mephistopheles. Voici, Faust, un séjour de 
folle compagnie ; 
Ici vins et chansons réjouissent la vie. 



Chœur. Oh ! qu'il fait bon quand le ciel tonne 
Rester près d'un bol enflammé, 
Et se remplir comme une tonne 
Dans un cabaret enfumé ! 
J'aime le vin et cette eau blonde 
Qui fait oublier le chagrin. 
Quand ma mère me mit au monde, 
J'eus un ivrogne pour parrain. 
Oh! qu'il fait bon, etc., etc. 



Quelques Buveurs. Qui sait quelque plai- 
sante histoire 
En riant, le vin est meilleur. 
A toi, Brander! 



Autres Buveurs. Il n'a plus de mémoire ! 

Brander (ivre). J'en sais une; et j'en suis 
l'auteur. 



Brander. Puisqu'on m'invite, 

Je vais vous chanter du nouveau. 

Tous. Bravo ! bravo ! 



Chanson de Brander*. 

Premier Couplet. Certain rat, dans une 
cuisine, 
Etabli comme un vrai frater, 
S'y traitait si bien, que sa mine 
Eût fait envie au gros Luther. 
Mais un beau jour le pauvre diable, 
Empoisonné, sauta dehors, 



DAMNATION OF FAUST. 



Oh ! he writhed as though love possess'd 

him, 
Or torn apart by wheel or rack. 

Chorus. Or torn apart by wheel or rack. 

Brander. So fiercely did the pangs assail 

him, 
He ran in and then ran out, 
He scratched and claw'd, but naught 

avail'd him, 
In frantic rage he tore about. 
With pain and dismay sadly groaning, 
He madly rush'd in broad noon-day 
To the kitchen and there lay moaning 
As if in love torments he lay. 

Chorus. As if in love torments he lay. 

Brander. Upon the hearth in anguish writh- 
ing, 
Still he hoped his doom to escape, 
And that within the oven hiding, 
He'd find a shelter sure and safe. 
But the cook came as he lay dying, 
And she laugh'd and mock'd at his pain. 
Ha ! see for love, for love he is sighing, 
Love's torments have twitch'd him again. 

Chorus. Love's torments have twitch'd him 
again. 
Requiescat in pace ! Amen ! 

Brander. A chorale, a fugue, an amen, an 
amen. 
Let's improvise a good learned amen. 

Mephistopheles. But lend an ear to this, 
and, Doctor, you shall know 
How far stupidity and foolish mirth can go. 

Chorus {Fugue on the theme of Brander's 

song). Amen. A men. A 

men. Amen. 

Mephistopheles (advancing). V faith, good 
sirs, but your fugue is astounding, 

That in truth it were fit for the skies, 

Permit me to remark it, the style is really 
grand, 

Religious and sublime ; 

Art has never better express'd more pious 
sentiments. 

'Tis bv some such termination 



Aussi triste, aussi misérable 
Que s'il eût eu l'amour au corps. 



Chœur. Que s'il eût eu l'amour au corps. 

Deuxième Couplet. Il courait devant et der- 
rière, 
Il grattait, reniflait, mordait, 
Parcourait la maison entière; 
La rage à ses maux ajoutait, 
Au point qu'à l'aspect du délire 
Qui consumait ses vains efforts 
Les mauvais plaisants pouvaient dire 
Il a, ma foi, l'amour au corps. 



Chœur. Il a, ma foi, l'amour au corps. 

Troisième Couplet. Dans le fourneau le 
pauvre sire 
Crut pourtant se cacher très-bien ; 
Mais il se trompait, et le pire 
C'est qu'on l'y fit rôtir enfin. 
La servante, méchante fille, 
De son malheur rit bien alors. 
Ah! disait-elle, comme il grille! 
Il a vraiment l'amour au corps. 

Chœur. Il a vraiment l'amour au corps. 
Requiescat in pace. Amen. 



Brander. Pour l'amen une fugue, une fugue, 
un choral ! 
Improvisons un morceau magistral. 

Mephistopheles (bas à Faust). Écoute bien 
ceci ! nous allons voir, docteur, 
La bestialité dans toute sa candeur. 

Chœur. (Fugue sur le thème de la chanson 

de Brander). Amen. A men. 

A men. Amen. 

Mephistopheles (s' avançant) . Vrai Dieu, 
messieurs, votre fugue est fort belle 
Et telle, 
Qu'à l'entendre on se croit aux saints 
lieux ! 

Souffrez qu'on vous le dise : 
Le style en est savant, vraiment religieux ; 
On ne saurait exprimer mieux 
Les sentiments pieux 



DAMNATION OF FAUST. 



That pious songs should e'er be ended. 

By your leaves, I would make bold to pro- 
pose you a song, 

No less pathetic than the one we've ap- 
plauded. 

Chorus. Ah ! his praises have a cynical air ! 
Who is this person 
Who mocks so freely ? 
Pale visaged and red of hair, 
Let us hear, sing, and away with care ! 



Qu'en terminant ses prières l'Église 
En un seul mot résume. Maintenant. 
Puis-je à mon tour riposter par un chant 
Sur un sujet non moins touchant 
Que le vôtre? 

Chœur. Ah ça! mais se moque-t-il de nous? 

Quel est cet homme? 
Oh ! qu'il est pâle., et comme 

Son poil est roux ! 
N'importe ! Volontiers. Autre chanson. A vous. 



Mephistopheles. 

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He now was duly drest, — 
Had jewels rare his hat in, 
And a star deçk'd his breast, — 
A star of great dimensions ! 
His kindred soon were there, 
They got titles and pensions, 
And courtiers grand they were. 

But grievously tormented 
Were dames and lords at court, 
And did not dare resent it, 
Queens and maids, ev'ry sort, 
Howe'er our friends might rack them 
We're afraid e'en to scratch ! 
We scruple not to crack them, 
And kill all those we catch. 

Chorus {shouting) . Bravo ! bravo ! bravissimo ! 
We kill all those we catch 1 



Deuxième Couplet. L'insecte, plein de joie, 
Dès qu'il se vit paré 
D'or, de velours, de soie, 
Et de croix décoré, 
Fit venir de province 
Ses frères et ses sœurs, 
Qui, par ordre du prince, 
Devinrent grands seigneurs. 

Troisième Couplet. Mais, ce qui fut bien pire. 
C'est que les gens de cour, 
Sans en oser rien dire, 
Se grattaient tout le jour. 
Cruelle politique ! 
Ah ! plaignons leur destin, 
Et dès qu'une nous pique 
Ecrasons-la soudain. 

Chceur. Ah! ah! Bravo! 
Bravissimo ! 
Écrasons-la soudain, 



DAMNATION OF FAUST. 



Faust. Enough ! I would begone if thou 
canst show me nothing better 

Than this vile and brutal display. 

Such loud ignoble mirth fills my senses 
with loathing, 

If thou hast no softer joys, let's away ! 

Mephistopheles. Oh ! all the world is ours, 
to choose. 

(They fly away through the air on Faust's mantle. ) 
Orchestra. 

SCENE VII. 
(Bushy meadows on the banks of the Elbe.) 
Faust, Mephistopheles. 
Chorus of Gnomes and Sylphs. 



Faust. Assez ! fuyons ces lieux où la parole 
est vile, 
La joie ignoble et le geste brutal. 
N'as-tu d'autres plaisirs, un séjour plus tran- 
quille 
A me donner, toi, mon guide infernal ! 

Mephistopheles. Ah ! ceci te déplait ! Suis- 
moi. 

(Ils parlent à travers les airs sur le manteau de Faust.) 
Orchestre Seul. 

SCÈNE VII. 

(Bosquets et prairies des bords de l'Elbe.) 
Faust, Mephistopheles. 
Chœur de Gnomes et de Sylphes. 



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to 



DAMNATION OF FAUST. 



Faust's Dream. 

Chorus of Sylphs and Gnomes. Dream, 

happy Faust, 
For soon 'neath a veil of purple and gold, 
Shall thine eyelids find rest. 
Thy star shall shine in the high dome of 

Heaven, 
Dreams of delight and of love charm thy 

breast. 

Chorus. Behold on either hand 
The fair scenes we discover. 
The leaf and blossom cover 
With beauty rare the land. 
The trees are gently swaying, 
And happy lovers pass 
Beneath the shadows straying; 
The briar and the rose 
Have woven tangled bowers, 
The soft vine tendrils close 
Around the grapes and flowers. 
See where the lovers stray 
Forgetful of the morrow, 
In blissful joy today, 
Untouched by care or sorrow. 

Now comes a pensive maiden, 
And a tear shines there 
Where love's shafts should be laden. 
Faust, she shall be thine ! 



Faust {asleep). Margaret! mine! 

Chorus. The lake extends its flood 
At the feet of the mountains ; 
By the murmuring fountains 
Are the green pastures woo'd. 
There the gay laughing choirs 
Re-echo o'er the plain ; 
Here the music inspires 
The dance that none disdain ; 
For some are boldly breasting 
The silv'ry torrent streams, 
While milder swains are questing 
Their love in softer dreams. 



Songe de Faust. 

Chœur de Sylphes et de Gnomes. • Dors, 
heureux Faust, dors ! Bientôt, sous un 
voile 
D'or et d'azur, tes yeux vont se fermer; 
Songes d'amour vont enfin te charmer, 
Au front des cieux va briller ton étoile. 



Chœur. De sites ravissants 

La campagne se couvre, 
Et notre œil y découvre 
Des prés, des bois, des champs, 
Et d'épaisses ramées, 
Où de tendres amants 
Promènent leurs pensées. 
Mais plus loin sont couverts 
Les longs rameaux des treilles 
De bourgeons, pampres verts 
Et de grappes vermeilles. 
Vois ces jeunes amants, 
Le long de la vallée, 
Oublier les instants 
Sous la fraîche feuillée. 

Méphistophélès {avec le chœur). Une 
beauté les suit 
Ingénue et pensive ; 
À sa paupière luit 
Une larme furtive. 
Faust ! elle t'aimera 
Bientôt. 

Faust {endormi) . Margarita ! 

Le Chœur. À l'entour des montagnes 
Le lac étend ses flots, 
Dans les vertes campagnes 
Il serpente en ruisseaux. 
Là, de chants d'allégresse 
La rive retentit. 
D'autres chœurs là sans cesse 
La danse nous ravit. 
Les uns gaîment s'avancent 
Autour des coteaux verts, 
De plus hardis s'élancent 
Au sein des flots amers. 
Partout l'oiseau timide, 
Cherchant l'ombre et le frais, 
S'enfuit d'un vol rapide 
Au milieu des marais. 



DAMNATION OF FAUST. 



XI 



Faust (dreaming). Margaret! mine! 

Chorus. For e'en the timid nestling 
Seeking shade and repose, 
With the gay zephyrs wrestling, 
Dares affront the sweet rose. 
All who'd attain love's rapture, 
Must seek through earth and skies 
For the one star in nature 
That dawn'd to glad their eyes. 
The maiden who loves thee, oh Faust, 
She shall be thine ! 
Dream ! dream ! 

Mephistopheles. 'Tis well, 'tis well, ye 
youthful sprites, 
Your task is at an end, 
But still with charms the enchantment at- 
tend. 



Ballet of Sylphs. 

(The spirits of the air hover silently around the slum- 
bering Faust, then gradually disappear.) 

Faust (awakening suddenly) . Oh, my Mar- 
garet ! Is't a dream, or celestial image ? 
Art an angel or rare maid ? 
Where is she gone ? 
My love array'd in beauty ! 
Oh, heavenly visage ! 

Mephistopheles. Come, then, and swiftly 

shalt thou go 
To the lowly cot where she dwelleth, 
Where thy love sits and softly telleth 
The fair thoughts from her soul that flow. 
But see, a joyous throng of young students 

is massing, 
Before her door they now are passing. 
We'll mingle with the crowd, and unper- 

ceived draw near; 
Thus shalt thou soon approach thy dear; 
But thy transports restrain and my lesson 

retain. 



Tous, pour goûter la vie. 
Tous cherchent dans les cieux 
Une étoile chérie 
Qui s'alluma pour eux. 
Dors, dors! 

Faust (endormi). Margarita! 



Chœur. C'est elle 

Qu'Amour te destina, 
est belle 1 



Regarde ! qu'elle 



Mephistopheles. Le charme opère, il est 
à nous ! 
C'est bien, jeunes esprits, je suis content de 
vous. 



Bercez, bercez son sommeil enchanté. 



Ballet des Sylphes. 

(Les esprits de l'air se balancent quelque temps en 
silence autour de Faust endormi et disparaissent peu à peu.; 

Faust (s* éveillant) . Quelle céleste image! 
Oh ! qu'ai-je vu ! Quel ange 

Au front mortel ! 
Où le trouver? Vers quel autel 
Traîner à ses pieds ma louange?... 



Mephistopheles. Eh bien, il faut me suivre 

encor 

Jusqu'à cette alcôve embaumée 

Où repose ta bien-aimée. 

A toi seul ce divin trésor ! 
Des étudiants voici la joyeuse cohorte 

Qui va passer devant sa porte ; 
Parmi ces jeunes fous, au bruit de leurs 

chansons 

Vers ta beauté nous parviendrons. 
Mais contiens tes transports et su ; s bien 

mes leçons. 



12 



DAMNATION OF FAUST. 



SCENE VIII. 



Finale. 

Chorus of Soldjers and Students 
Marching towards the town. 

Sold i ers. Towns with their high battlements, 

tower and wall, 
Fair maids with their haughty thoughts 

scorning us all, 
To glory they call us. 
Soon they both shall fall, no danger appals 

us, 
How glorious is our life ! 
The trumpet that calls us our banner 

beneath, 
It summons to pleasure, or summons to 

death. 
Fair maiden and city, appeal to our pity, 
And yield in the strife ! 
Towns with their high battlements, etc. 



Students. 

Jam nox stellata velamina pandit I nunc bi- 
bendum et amandum est! Vita brevis fu- 
gaxque voluptas ! Gaudeamus igitur, gaudea- 
mus!... 

Nobis subridente luna, per urbem quœren- 
tes puellas eamus ! ut eras, for tun ati Ccesares, 
dicamus : veni, vidi, vieil Gaudeamus igitur, 
gaudeamus!- 



Chorus of Soldiers and Students. 
with their high battlements, 
Tower and wall, etc, etc. 



Towns 



Faust with Mephistopheles. Jam nox stel- 
lata velamina, etc. 



SCÈNE VIII. 



Chœur D'Étudiants et des Soldats. 

Marchant vers la ville. 

Les Soldats. Villes entourées 
De murs et remparts, 
Fillettes parées, 
Aux malins regards, 
Victoire certaine 
Près de vous m'attend ; 
Si grande est la peine, 
Le prix est plus grand. 
Au son des trompettes, 
Les braves soldats 
S'élancent aux fêtes, 
Ou bien aux combats; 
Fillettes et villes 
Font les difficiles; 
Bientôt tout se rend. 
Si grande est la peine, le prix est plus 
grand. 



Les Étudiants. 

* Jam nox stellata velamina pandit; nunc 
bibendum et amandum est! Vita brevis 
fugaxçue vohiptas. Gaudeamus igitur, gau- 
deamus !. . . 

Nobis subridente luna, per urbetn quœrentes 
puellas eamus! ut eras, fortunati Cœsares, 
dicamus: Veni,vidi, vici ! Gaudeamus igitur, 
gaudeamus ! 



Les Deux Chœurs Ensemble. 

Les Soldats. Villes entourées, etc. 
(Faust, Méphistophélès et les Étudiants.) 
Jam nox stellata, etc. 



*Déjà la nuit étend ses voiles étoiles; c'est l'heure de boire 
et d'aimer. La vie est courte et le plaisir fugitif! Réjouissons- 
nous donc, réjouissons-nous ! Pendant que la lune nous sourit, 
allons par la ville cherchant les jeunes filles, pour que demain, 
heureux Césars, nous disions : Je suis venu, j'ai vu, j'ai vaincu 
Réjouissons-nous donc, réjouissons-nous! 



DAMNATION OF FAUST. 



*3 



THIRD PART. 



SCENE IX. 

(Drums and trumpets sound the retreat.) 
Faust, p sotto voce. 



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TROISIEME PARTIE. 



SCÈNE IX. 

(Des tambours et des trompettes sonnent au loin la retraite.) 



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Mer - ci, doux cri -pus - eu - le, Oh! sois le bien ve - nu ! E- claire en -fin Ces 




pain is sus -tain - ed and fed. Throbs my heart in love's throe, — a soft e - mo- tion 

lieux, sane • tu - ai -re in - con • nu, Où je sens à mon front glis - ser com-meun beau 




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steal - ing Comes like the breath of morn and pervades ev - 'ry feel - ing, It is love, 

ri - ve, Com - me les frais bais - er d'un ma - tin qui se le - ve. (Test de l'a - mour, 




it is love en - thrals 

c'est de l 'amour fes - pe 



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DAMNATION OF FAUST. 



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(He walks about the room examining its contents with 
tender eagerness.) 



SCENE X. 



Mephistopheles {enters hurriedly). She 
draws near ! 
She must not see thee yet, hide thee here. 

Faust. Heav'n ! my heart o'erflows with fear 
and joy ! 

Mephistopheles. I leave thee now awhile ; 

farewell ! 
The time employ to win the maid, 
While my young sprites and I shall intone 

you a song, 
A joyful nuptial greeting. 



Faust. Oh, my heart, still thy beating! 

SCENE XI. 

(Faust concealed. Margaret enters with a lamp.) 

Margaret. 'Tis hot and sultry now ; 
I feel, I know not how ! 
'Tis my dream yester eve that so disturbs 
my spirit, 



(Faust, marchant lentement, examine avec une curiosité 
passionnée l'intérieur de la chambre de Marguerite.) 



SCENE X. 

Méphistophélès, Faust. 

Méphistophélès (accourant.) La voici, je 
l'entends! Sous ces rideaux de soie 
Cache-toi. 

Faust. Dieu ! mon cœur se brise dans la joie ! 



Méphistophélès. Profite des instants. Adieu, 
modère-toi, 
Ou tu la perds. 

(Il cache Faust sous les rideaux ) 

Bien. Mes follets et moi, 

Nous allons vous chanter un bel pithalame. 

(Il sort.) 

Faust. Oh ! calme-toi, mon âme. 



SCENE XI. 
Marguerite, Faust caché. 

Marguerite {entrant, une lampe à la main) , 
Que l'air est étouffant ! 

J'ai peur comme un enfant ; 



DAMNATION OF FAUST. 



»5 



His image haunts me still ; 

Noble and fair and kind ! 

My future love ! 

Yes, he swore he would love me, 

And my heart answer'd his. 

Ah, will my dream return, return and bless 

me? 
'Tis folly ! 



(She sings while braiding her hair.) 
Marg. 



C'est mon rêve d'hier qui m'a toute 

troublée . . . 
En songe je l'ai vu . . . lui . . . mon futur 
amant. 

Qu'il était beau ! Dieu ! j'étais tant 
aimée ! 

Et combien je l'aimais! 
Nous verrons-nous jamais 
Dans cette vie ? . . . 
Folie! . . . 

(Elle chante en tressant ses cheveux.) 






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jours u - ne lar 



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me lé - gi ' re 



Each time he from it did taste. 

A sa vue Au - mec- tait ses yeux. 



And when at the end he lay dying, 
He counted each tower and town, 
All his wealth and treasure dividing, 
But the goblet he kept alone. 
He sat and feasted once more, 
His barons and knights at his knee, 
Within his lofty father's hall, 
In his castle on the sea. 



There quaff'd he his last cup, hasting, 

The royal old toper upstood, 

The hallow'd goblet casting 

Into the swiftly rolling flood. 

He saw it whirling and drinking, 

And sink deep into the sea ; 

Then he felt his own eyes were sinking, 

Never, oh, nevermore drank he. 



Deuxième Couplet. Ce prince, à la fin de sa 
vie, 
Lègue ses villes et son or, 
Excepté la coupe chérie 
Qu'à la main il conserve encor. 
Il fait, à sa table royale, 
Asseoir ses barons et ses pairs, 
Au milieu de l'antique salle 
D'un château que baignaient les mers. 

Troisième Couplet. Le buveur se lève et 
s'avance 
Auprès d'un vieux balcon doré ; 
Il boit, et soudain sa main lance 
Dans les flots le vase sacré. 
Le vase tombe ; l'eau bouillonne, 
Puis se calme aussitôt après. 
Le vieillard pâlit et frissonne : 
Il ne boira plus désormais. 



i6 



DAMNATION OF FAUST. 



There dwelt a king once ... in Thule . . . 
Faithful and leal ... to the grave . . . 
{Sighs deeply) Ah! 

SCENE XII. 

(A square before Margaret's home.) 

Mephistopheles and Will-o'-the-Wisps. 

Invocation. 

Mephistopheles. Ye spirits of inconstant 
fire, 
Hasten here, on the wings of air. 

Orchestra Alone. 

Ye spirits of caprice and of evil, conspire 

to enchant and subdue 
And win a maiden soul. 
Now dance, ye sons of evil ! 
Ho ! dance in the name of the devil ! 
Will-o'-the-wisp and gnome, 
Dance, or away ye go ! 

(The Will-o'-the-wisps dance in strange figures and leap 
around Margaret's house.) 

Minuet. 

Orchestra Alone. 



Mephistopheles {making" the motions of a 
man playing the hurdy-gurdy) . To 
this lute, I'll sing a serenade, 

One that shall please the lady ; 

It is moral, her taste to suite : — 



Autrefois un roi . . . de Thulé ... 
Jusqu'au tombeau . . . fut fidèle ... 
{Profond soupir.) Ah! . . . 

SCÈNE XII. 

(Une place devant la maison de Marguerite.) 

mephistopheles et follets. 

Évocation. 

Mephistopheles. Esprits des flammes incon- 
stantes, 
Accourez ! j'ai besoin de vous. 

Orchestre Seul. 

Follets capricieux, vos lueurs malfaisantes 
Vont charmer une enfant et l'amener à 
nous. 



Orchestre Seul. 

Au nom du diable, en danse ! 
Et vous, marquez bien la cadence, 
Ménétriers d'enfer, ou je vous éteins tous. 

(Les follets exécutent des évolutions et des danses biz- 
arres autour de la maison de Marguerite.) 

Ballet. 

Orchestre Seul. 

Mephistopheles {faisant le geste d'un homme 
qui joue de la vielle) . Maintenant, 
Chantons à cette belle une chanson morale, 
Pour la perdre plus sûrement. 



Mephist 



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DAMNATION OF FAUST. 



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Ah, heed thee well, fair lass, 

Lest thy lover betray thee ; 

Then good night, alas ! 

From ill-hap what shall stay thee? 

Then good night ! 

But let thy lover prove the truth of his 

advances ; 
When the ring brightly glances, 
Ah ! then, believe his love. 
Oh, sweet maiden, beware, etc. 

Chorus. Oh, sweet maiden, beware, etc. 

Mephistopheles. Hush, now vanish all. 
( The spirits vanish.} 
In silence let us see, 
How our turtle-doves agree. 



SCENE XIII. 

(Margaret's chamber.) 



Margaret {seeing Faust) . Great Heav'n ! 
What see I ! 
Is it a dream, dare I credit mine eyes ? 



Il te tend les bras : 
Près de lui tu cours vite, 

Bonne nuit, hélas ! 
Bonne nuit, ma petite. 
Près du moment fatal 
Fais grande résistance, 
S'il ne t'offre d'avance 
Un anneau conjugal. 



Chœur. Il te tend les bras, etc. 

Méphistophélès. Chut ! chut ! disparaissez ! 
. . . silence ! . . . 

(Les follets s'abîment.) 

Allons voir roucouler nos tourtereaux. 



SCENE XIII. 

(Chambre de Marguerite.) 

Faust et Marguerite. 

Marguerite {apercevant Faust). Grands 
dieux ! 
Que vois-je ! est-ce bien lui ? dois-je en 
croire mes yeux? . . . 



i8 



DAMNATION OF FAUST. 



Andante. J — 56. 

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Moi - mê - me, 



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Faust! My name thou dost tell ! 
Faust ! Ce nom est le mien ; 



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I've thought of you. 
Je fat - ten - dais. 



Faust. Margaret, I adore thee ! 

Margaret. Yes, my heart went before thee, 
Ere I saw thee, was thine. 

Faust. Margaret, thou art mine ! 



' Margaret. Form of my dream, thy dear 
and noble image, 
Before mine eyes beheld thee, 



Faust. Marguerite adorée ! 

Marguerite. Ma tendresse inspirée 
Était d'avance à toi. 

Faust. Marguerite est à moi. 



' Marguerite. Mon bien-aimé, ta noble et 
douce image 
Avant de te connaître illuminait mon 
cœur! 



DAMNATION OF FAUST. 



19 



Usurp'd my bosom's throne ; 

At last I see thee near, and from thy loved 

visage 
The jealous cloud that held thee enrapt, 

now is flown. 

Faust. Form of my dream, etc. 
Margaret, I adore thee ! 
Yield to the ardent devotion, 
That I lay at thy feet ! 



Margaret. Oh, what strange new enthral- 
ment 
Makes my heart softly beat ! 



Margaret. Such mingled thoughts of joy 
and fear appal me. 

Faust. To endless joy, endless love do I call 
thee, 

Come ! come ! 

Margaret. Why do tears arise, all unhid to 
mine eyes? 



SCENE XIV. 

Faust, Margaret, Mephistopheles. 

Mephistopheles {entering suddenly). 'Tis 
late ; we must be gone. 

Margaret. Who is that man? 
Faust. A fiend! 
Mephistopheles. Nay, a friend. 

Margaret. He is one who strikes fear to the 
heart ! 

Mephistopheles. I doubt not I'm unwelcome. 

Faust. Who bade thee come ? Depart! 

Mephistopheles. I came to warn the maiden 
What danger is at hand ; 
For aroused by our song, 
The neighbors hither come ; man and maid 

troop along. 
Laughing they call on Margaret; 
Some her mother are warning, 
And she will soon be here. 



Enfin je t'aperçois, et du jaloux nuage 
Qui te cachait encor ton amour est vain- 
queur. 



Faust. Ange adoré, etc. 

Faust. Marguerite ! O tendresse ! 
Cède à l'ardente ivresse 
Qui vers toi m'a conduit. 

Marguerite. Je ne sais quelle ivresse 
Brûlante, enchanteresse, 
Dans ses bras me conduit. 

Marguerite. Quelle langueur s'empare de 
mon être ! . . . 

Faust. Au vrai bonheur dans mes bras tu vas 
naître, 
Viens . . . 

Marguerite. Dans mes yeux des pleurs . . . 
Tout s'efface . . Je meurs . . . 



SCENE XIV, 

Faust, Marguerite, Mephistopheles. 

Mephistopheles {entrant brusquement). 
Allons, il est trop tard ! 

Marguerite. Quel est cet homme? 
Faust. Un sot. 
Mephistopheles. Un ami. 

Marguerite. Son regard 
Me déchire le cœur. 

Mephistopheles. Sans doute je dérange . . . 

Faust. Qui t'a permis d'entrer? 

Mephistopheles. Il faut sauver cet ange ! 
Déjà tous les voisins, éveillés par nos 

chants, 
Accourent, désignant la maison aux pas- 
sants ; 
En raillant Marguerite, ils appellent 5a mère. 
La vieille va venir . . . 



20 

Faust. Oh, horror! 
Mephistophei.es. Come, disappear ! 
Faust. Cruel illusion ! 



DAMNATION OF FAUST. 

Faust. Que faire? 
Méphistophélès. Il faut partir. 
Faust Damnation ! 



Mephistopheles. At dawn you'll meet again ; 
Let that consolation soothe the anguish of 
parting. 

Margaret. Till tomorrow, oh Faust ! 

Though with thee is departing the bright- 
ness of day. 



Méphistophélès. Vous vous verrez demain ; 
la consolation 
Est bien près de la peine. 

Marguerite. Oui, demain, bien-aimé. Dans 
la chambre prochaine. 
Déjà j'entends du bruit. 



Faust. 



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A - dieu donc, bel - le nuit 



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mour Que je m'é - tais pro - mis! . 



Mehpistopheles. 



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Par - tons, voi - là le jour! 



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DAMNATION OF FAUST. 
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- vrir? 



Chorus of Men and Women. 

(Before Margaret's house.) 

Hallo ! Mistress Martha, 
See to your daughter's safety ! 
The warning only conies in time, 
If her gallant you wish to lime ! 
Come home, good dame, or woe betide the 
maiden's surety. 

Hallo! Hallo! 

Mephistopheles. The crowd isnearing; we 
must away ! 

Margaret. Heav'n ! Dost thou hear their 
cries ? 
Woe is me if they enter 
And thy presence here surprise ! 

Mephistopheles. Come, or they will torment 
her. 

Faust. Oh, despair! 

Mephistopheles. This is folly! 

Margaret. Farewell ! that little gate 
Through the garden doth lead. 

Faust. Oh, my love, cruel fate! 

Mephistopheles. To the gate ! To the gate ! 



' Faust. At last I've seen thee near, fairest 
treasure of nature ! 
Love's delight hath appear'd and hath 
called me to life ! 
Fair love, thou hast enthrall'd with de- 
light and with rapture 
The heart that's henceforth thine ! 
With hope my breast is rife ! 

Margaret. Dearest Faust ! I do give thee 
forever 
My promise and my love ! 
Even death cannot sever hearts so faithful, 
True till death ! 



Chœur de Voisins et de Voisines dans 
la Rue. 

Holà ! mère Oppenheim, vois ce que fait 
ta fille ! 
L'avis n'est pas hors de saison : 
Un galant est dans ta maison, 

Et tu verras dans peu s'accroître ta famille. 



Mephistopheles. La foule arrive : 
Hâtons-nous de partir ! 

Marguerite. Ciel! entends-tu ces cris? De- 
vant Dieu, je suis morte 
Si l'on te trouve ici ! 



Mephistopheles. Viens! on frappe à la 
porte ! 

Faust. O fureur! 

Mephistopheles. O sottise! 

Marguerite. Adieu. Par le jardin 
Vous pouvez échapper. 

Faust. O mon ange! à demain! 

Mephistopheles. A demain ! à demain! 

Faust. Je connais donc enfin tout le prix 
de la vie ! 
Le bonheur m'apparaît et je vais le saisir. 
L'amour s'est emparé de mon âme ravie, 
Il comblera bientôt mon dévorant désir. 



Marguerite. O mon Faust bien-aimé, je te 
donne ma vie ! 
Pourrai-je te charmer au gré de mon 
désir! . . . 



22 



DAMNATION OF FAUST. 



Fair love, thou hast enthrall'd with delight 
and with rapture ! 
To lose thee were to die ! 

f Mephistopheles. Thou art mine ! And 
now shall thy proud nature, 
Haughty Faust, be enslaved forever ; 
Mine, thy souFand thy life! 
Empty hopes within thy breast are rife, 
To me they bind thee fast — thy delight 
and thy rapture ! 

' Faust. At last I've seen thee near, etc. 



Margaret. Dearest Faust, I do give thee, etc. 
Mephistopheles. Thou art mine ! etc. 



Chorus {in the street}. Mistress Martha, 
come home, good dame, 
See to your daughter's safety. 
Hallo! Hallo! 



L'amour s'est emparé de mon âme ravie, 
Il m'entraîne vers toi : te perdre c'est 
mourir. 

' Mephistopheles. Je puis donc à mon gré 
te traîner dans la vie, 
Fier esprit ! Sans combler ton dévorant 
désir, 
L'amour en t'énivrant doublera ta folie, 
Et le moment approche où je vais te 
saisir. 

' Faust. Je connais donc enfin, etc. 

Marguerite. O mon Faust bien-aimé, etc. 

Mephistopheles. Je puis donc à mon gré, 
etc. 

Chœur au Dehors. 
Holà, etc., etc. 



FOURTH PART. 



SCENE XV. 

(Margaret's Chamber.) 



Margaret {alone). 



QUATRIEME PARTIE. 



SCENE XV. 

(Chambre de Marguerite.) 






*==*PT 



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Ah me, my heart is heav - y, My peace - fui days are gone, 

Z>'a - mour, I'ar - den - te flam - me, con - su - me mes beaux jours, 



All in 

An! la 



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sad - ness de-part - ed, 
paix de mon â - me, 



For - ev - er -more are flown, 
A donc fui pour tou - jours, 



poco rit. 



m 



For - ev - er - more are 

A donc fui pour tou 



Tempo lo tin poco piii animalo. 

— r =— zzf: F^=l?pExl?p: 



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flown. 
jours ! 



When my love is not near me, The dark grave do I see, 
Son dé -part, son ab - sen - ce, Sont pour moi le cer - cueil, 



And all the world is 
Et loin de sa pré- 



DAMNATION OF FAUST. 



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chang'd, — Ah, so bit 
Tout me pa - rait 



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mind is distraught ; My sens 
ran - ge bien - tôt; Mon fat 



sad thought. 
aussi - tôt. 



His form so noble haunts me, 

His lofty bearing high ; 
The lip that smiled so softly, 

The glance of his eye; 

His voice, the magic flow, 

Magic flow of his words, 
And the bliss in the clasp of his hand, 

And, ah me, ah me, his kiss ! 

Ah me, my heart is heavy, 
My peaceftd days are gone, 

All in sadness departed, 
Forever more are flown. 

To greet him from my window 

Do I gaze all the day, 
I stir out, if to meet him then 

I only, only may. 

For him doth my bosom ever cry out, 

Ever cry out and pine ; 
Oh, if I might but clasp him, 

And keep him ever mine ! 

Once again to behold him 

And kiss him fain were I ; 
E'en death itself were blissful 

To kiss him once and die ! 

(Small Chorus behind the Scenes.) 



Chorus. The trumpet that calls our banner 
beneath, 
ft summons to pleasure or summons to 

death ; 
No dangers appal us, how glorious is our 
life! 



Sa marche que j'admire, 

Son port si gracieux, 
Sa bouche au doux sourire, 

Le charme de ses yeux. 

Sa voix enchanteresse 
Dont il sait m'embraser, 

De sa main la caresse, 
Helas! et son baiser. 

D'une amoureuse flamme 
Consument mes beaux jours. 

Ah ! la paix de mon âme 
A donc fui pour toujours ! 

Je suis à ma fenêtre 

Ou dehors tout le jour : 
C'est pour le voir paraître 

Ou hâter son retour. 

Mon cœur bat et se presse 

Dès qu'il le sent venir; 
Au grè de ma tendresse 

Puis-je le retenir ! 

O caresses de flamme ! 

Que je voudrais un jour 
Voir s'exhaler mon âme 

Dans ses baisers d'amour. 

(Tambours et trompettes sonnant la retraite. — Chœur 
de soldats et d'étudiants qui se font entendre dans le loin- 
tain.) 

Chœur. Villes entourées 

De murs et remparts, 

Fillettes parées 

Aux malins regards, 
Victoire certaine 

Près de vous m'attend ! 
Si grande est la peine, 

Le prix est plus grand. 



2 4 



DAMNATION OF FAUST. 



Margaret. I hear the sounds that summon 
all the town to repose ; 
Those joyous strains attend and cheer the 

daylight's close, 
On such a night as this did love come to 
my heart, 

And awake it to bliss. 

Chorus. Jam nox stellata velamina pandit, 
Per urbem quœrentes puellas eamus. 

Margaret. He cometh not ! He cometh not ! 
Alas! Alas! 



SCENE XVI. 

(Forests and Caverns.) 



Marguerite. Bientôt la ville entière au repos 
va se rendre ; 
Clairons, tambours du soir déjà se font 
entendre 

Avec des chants joyeux, 
Comme au soir où l'amour offrit Faust à 
mes yeux. 

Chœur. Jam nox stellata velamina pandit. 
Per urbem quœrentes puellas eamus. 

Marguerite. Il ne vient pas ! 
Hélas ! 



SCENE XVI. 

(Forêts et cavernes.) 



Faust (alone) 
., u Very broad and sombre. 

fplE^ 7 : 



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Na-ture im - men - se, 



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er, 
re, 



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Na - ture, thou hast giv - en 

seu - le don - nés trê - ve 



peace to my tor - tured soul ! 
à mon en - nui sans fin ! 



In thy 
Sur ton 



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might thou dost soothe the tu - mul - tu - ous throbbing That my bo - som 
sein tout- puissant je sens moins ma mi -se - re, Je re - trou - ve 



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ma for - ce, 



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call -ing me back to 
et je crois vivre en 



life. 
fin. 



Howl, 
Oui, 



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Se! 



thou boist - er - ous storm, 
souf-flez, ou ■ ra - gans ! 



and 
Cri- 



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roar, 



ye might -y for 
fo - rets pro - /on 



ests, 
des ! 



With crash, with crash and wail, and wail of tan-gled 

Crou - lez, crou - lez, ro - chers! Tor ■ 



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boughs, While foam- ing rolls the tor - rent ; 

rents, pre - ci - pi - tez vos on - des! 



To your sov - er -eign voice 
A vos bruits sou- ve • rains 



DAMNATION OF FAUST. 



25 




soul, 
ma 



my 

voix 



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woods, 



r 



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and hills, 
r<? - chers! 



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and streams ! 
tor - rents, . 



With sheen of sil 
je vous a - do 



ver 
re! 



plfegÉEf^E^^ÉE^g^g^j^ ^^ 



ris - es the clear pale moon, 
Mon - des qui sein - til - lez, . 



And mounts the heav-ens as I gaze, 
vers vous s' 1 i- Ian- ce le dé - sir 



Her ra - diant 
D'un cœur trop 



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beau - ty 



shed-ding o'er my spir - it 
et d'une â-me alté • ri - e 



Ho - ly peace and calm 
D'un bon - heur qui la 



joy. 
fuit. 



Il 



SCENE XVII. 

Mephistopheles {appears among the rocks). 

In that star-spangled vault, can you 
discover, friend, 

The orb of constant love ? 

For now its influence, methinks, might 
prove most useful. 

You've forgotten, I trow, in sapient con- 
templation, 
Your Margaret. 

Faust. Oh, cease! 

Mephistophei.es. That poor damsel so trust- 
ful, 
You've ceased to love, I know ; 
In a dungeon she's pining! 
Poor soul, condemned to die, 
While your love is declining ! 

Faust. What ! 

(Hunters' horns heard in the distance) 

Mephistopheles. The hunters I hear who 
are scouring the wood. 

Faust. No jesting ! What saidst thou? 
Margaret, oh, dread news ! 



SCENE XVII. 

Mephistopheles {gravissant les rochers). 
A la voûte azurée 
Aperçois-tu, dis-moi, l'astre d'amour con 

stant? 
Son influence, ami, serait fort nécessaire ; 
Car tu rêves ici, quand cette pauvre enfant, 
Marguerite . . . 



Faust. Tais-toi ! 

Mephistopheles. Sans doute il faut me 
taire. 
Tu n'aimes plus ! Pourtant en un cachot 

traînée, 
Et pour un parricide à la mort condamnée... 



Faust. Quoi ! 



Mephistopheles. J'entends des chasseurs 
qui parcourent les bois. 

Faust. Achève, qu'as-tu dit? Marguerite en 
prison ? 



36 



DAMNATION OF FAUST. 



Mephistopheles. The tidings are unpleas- 
ant, 

To hear them dost thou choose ? 

She had wander'd forlorn, wretched and 
ill-starr'd being; 

And now in a prison immur'd, 

Awaits a frightful doom. 

The short hours are fleeing 

That withhold her from death ; 

Then all her ills are cured. 

Her mother's end was caused by the 
draught that -we furnished 

To ensure her repose 

Faust. Treacherous monster ! 

Mephistopheles. Unwitting, she gave too 
much, and must abide. 

Faust. Thou must save her, or woe betide 
thee! 

Mephistopheles. Yes, ever so, poor mor- 
tals, 

Ye the thunder would grasp 

To avert what ye dread, yet listen ! 

My power doth suffice to ope her dun- 
geon portals, 

And leaves the rest to thee ; 

On one condition, though. 

Faust. Oh, quickly speak ! 

Mephistopheles. 'Tis this, — Thou shall 
upon this parchment 

Set thy hand and thy seal, 

And quick as thought is Margaret free ; 

For so great a service what I claim to- 
morrow shall reveal. 



Faust . What boots tomorrow, fiend ; 'tis 

today thou must save her, 
The parchment ! — {he signs) Behold, 

'tis done ! 
And now swiftly conduct me to the cell, 
Where in fear and in sorrow she's 

pining. 
Margaret, I come ! 

Mephistopheles. What, ho ! my magic 
steeds ! 
These horses, s>vift as light, shall bear 
us, 



Mephistopheles. Certaine liqueur brune, un 
innocent poison, 

Qu'elle tenait de toi pour endormir sa mère 
Pendant vos nocturnes amours, 

A causé tout le mal. Caressant sa chi- 
mère, 

T'attendant chaque soir, elle en usait tou- 
jours. 

Elle en a tant usé, que la vieille en est 
morte. 
Tu comprends maintenant. 



Faust. Feux et tonnerre ! 

Mephistopheles. En sorte 

Que son amour pour toi la conduit. 

Faust. Sauve-la, 

Sauve-la, miserable ! 

Mephistopheles. Ah ! je suis le coupable ! 
On vous reconnaît là, 
Ridicules humains! N'importe! 
Je suis le maître encor de t'ouvrir cette 
porte. 
Mais qu'as-tu fait pour moi 
Depuis que je te sers? 



Faust. Qu'exiges-tu ? 

Mephistopheles. De toi? 
Rien qu'une signature 
Sur ce vieux parchemin. 
Je sauve Marguerite à l'instant, si tu 

jures 
Et signes ton serment de me servir 
demain. 

Faust. Eh ! que me fait demain, quand je 
souffre à cette heure? 
Donne. (// signe.) Voilà mon nom. 

Vers sa sombre demeure 
Volons donc maintenant. O douleur 
insensée ! 

Marguerite, j'accours ! 



Mephistopheles. A moi, Vortex! Giaour! 
Sur ces deux noirs chevaux, prorapts 
comme la pensée. 



DAMNATION OF FAUST. 



27 



And we'll carry the prize ere fall of 

night. 
Haste away, do not tarry ! 

SCENE XVIII. 

The Ride to Hell. 

(Night, the Open Country.) 

Faust and Mephistopheles {galloping on 
black horses) . 

Faust. Through my heart her sad voice is 
ringing mournfully. 



Montons, et au galop. . . La justice est 
pressée. 

(Ils partent.) 

SCÈNE XVIII. 
La course à l'abîme. 

(Plaines, montagnes et vallées.) 

Faust et Méphistophélès {galopant sur 
deux chevaux noirs) . 

Faust. Dans mon cœur retentit sa voix déses- 
pérée. . . 



Alas ! and woe is me ! 

Chorus of Peasants. 

(Kneeling before a Crucifix.) 

Sancta Maria, ora pro nobis; 
Sancta A/agdalena, ora pro nobis. 

Faust. Take heed, a pious crowd of poor 
women and children 
Kneel around yon cross. 

Mephistopheles. Never heed them, let us 



Chorus. Sancta Margarita — Ah ! ( Cry of 
alarm.) 

(The women and children disperse.) 



O pauvre abandonnée ! 
Chœur de Paysans. 

(Agenouillés devant une croix champêtre.) 

Sancta Maria, ora pro nobis ; 
Sancta Magdalena, ora pro nobis. 

Faust. Prends garde à ces enfants, à ces 
femmes priant 
Au pied de cette croix. 

Méphistophélès. Eh qu'importe ! en avant!. 

Chœur. Sancta Margarita, ora pro — 

Ah!!! 

(Cris d'effroi. Le chœur se disperse en tumults. Les 
cavaliers passent.) 



Faust. See, a hideous shape pursues us with 
loud cries. 

Mephistopheles. Thou art dreaming ! 

Faust. What a host of foul birds fills the 
skies ! 
With dismal shriek round my head they 
are whirling. 

Mephistopheles {slackening his speed). 
The passing bell I hear ; for Margaret 'tis 
tolling. 
Art afraid to go on ? 

(They halt.) 



Faust. Dieux ! un monstre hideux en hurlant 
nous poursuit ! 

Méphistophélès. Tu rêves! 

Faust. Quel essaim de grands oiseaux de 
nuit ! 
Quel cris affreux ! ... ils me frappent 
de l'aile ! . . . 

Méphistophélès {retenant son cheval.) 
Le glas des trépassés sonne déjà pour elle. 
A s- tu peur? retournons! 

(Ils s'arrêtent.) 



28 ' 



DAMNATION OF FAUST, 



Faust. No, the goal must be won ! 

(They resume their course with quickened speed.) 

Orchestra. 
Mephistopheles {urging his horse). On! 



Faust. On ev'ry side, dost see, spectral forms 
are arising ; 
There, the skeletons dance, 
While ghastly laugh and gesture, the 
foul horror enhance. 

Mephistopheles. Think of saving thy loved 
one, and heed not these ghosts. 
On! on! 



Orchestra. 

Faust {horror struck). Our horses are shud- 

d'ring, 
Transfixed with terror, before those 

dread hosts 
The earth seems to roll and tremble 

beneath me. 
The loud crashing thunder bewilders 

my soul ! 
It raineth blood ! 

Mephistopheles (in a voice of thunder). 
Infernal cohorts triumph, 
And let the boastful trumpet flourish ; 
His soul is mine ! 

Faust. Horror ! oh ! 

Mephistopheles. For evermore ! 
(They fall into the abyss.) 



SCENE XIX. 

(Faust in Hell.) 
PANDEMONIUM. 

Chorus of the Demons and the Damned. 

(i) Has I Irimiru Karabraol 

The Princes ok Darkness to Mephisto- 
pheles. Hast thou conquer'd this 
proud immortal soul, 



Faust. Non, je l'entends, courons! 
(Les chevaux redoublent de vitesse.) 

Orchestre Seul. 

Mephistopheles (excitant son cheval) . Hop f 
hop ! hop ! 

Faust. Regarde, autour de nous, cette ligne 
infinie 
De squelettes dansant ! 

Avec quel rire horrible ils saluent ! 

Mephistopheles (animant les chevaux). 
Enfant ! 
Hop ! hop ! . . . pense à sauver sa vie. 
Hop ! . .et ris-toi des morts ! 

Orchestre Seul. 

Faust (de plus en plus épouvanté, et haletant). 
Nos chevaux frémissent, 
Leur crins se hérissent, 
Ils brisent leurs mors J 
Je vois onduler 
Devant nous la terre ; 
J'entends le tonnerre 
Sous nos pieds rouler ! 
Il pleut du sang ! ! ! 

Mephistopheles (dun voix tonnants). 
Cohortes infernales, 
Sonnez vos trompes triomphales ! 
Il est à nous ! 

Faust. Horreur ! 

Mephistopheles. Je suis vainqueur! 
(Ils tombent dans un gouffre.) 



SCENE XIX et Dernière. 

(L'Enfer. — Faust est livré aux flammes.) 
PANDEMONIUM. 

Chœur de Démons et Damnés. 

(i) Has! Irimiru Karabraol 

Les Princes des Ténèbres à Méphis 
tophélès. De cette âme si fière, 



(i) Cette langue est celle que Swedenborg appelait la langue infer- 
nale, et qu'il croyait en usage chez les demons et les damnés. 



DAMNATION OF FAUST, 
And enslaved it, Mephisto, for aye? 
Mephistopheles. I have conquer'd this soul. 



Princes of Darkness Then did Faust freely 
sign 
The dread act that did yield up his soul to 
our fires? 

Mephistopheles. Of free will did he sign. 
(Infernal orgies. — Mephisto's triumph.) 



Chorus. 

Tradioun Marexil, Jir tru diuxè burru- 

dixé. 
Fory mv Dinkorlitz O meri karin 
O mèvixè merikariba 
O tneri karin o mi dara caraibo 
La kin da me rond or Dinkorlitz 
Diff! Diff! merondor avsko! 
Has I Has I Satan, Bclphègor, Mèphisto, 
Has! Has! /Croix, Astaroth, Belzêbuth 
Sat rayk irkimour. 

EPILOGUE. 

(On earth.) 
Some Voices. * 

And then Hell's gates were still. 

The seething sound alone of the vast lakes 

of fire. 
The gnashing teeth and wail that dread 

torments inspire, 
Alone were heard above; while in the 

depths profound, 
In dread mystery drown'd, there was 

wrought 
An awful deed ! 

(In Heaven.) 

Seraphim Prostrate Before the Almighty. 
Lausl Hosanna ! 
Receive a contrite soul, oh Lord. 

(Silence — Harmonious murmurs.) 

A Voice From the Highest Heaven. 
Margaret, rise ! 



29 



A jamais es-tu maître et vainqueur, 
Méphisto? 



Mephistopheles. J'en suis maître à jamais. 

Les Princes. Faust a donc librement 

Signé l'acte fatal qui le livre à la 
flamme ? 



Mephistopheles. Il signa librement. 

(Orgie infernale. — Triomphe de Mephistopheles.) 



Chœur. Trmdiotin mar exil Trudinxè burru- 

dixe. 
Fory my dinkorlitz H r meak omévixe! 
Uraraikè ! 
Muraraikè! 
Diffl Diffl merondor mit aysko l 
Has ! Has! Satan, Belphègor, Méphisto, 
Has! Has! Kroïx, Astaroth, Belzêbuth. 
Sat rayk irkimour. 



ÉPILOGUE. 

(Sur la terre.) 



Quelques Voix. Alors l'enfer se tut. 

L'affreux bouillonnement de ses grands 
lacs de flammes, 

Les grincements de dents de ses tour- 
menteurs d'âmes, 

Se firent seuls entendre ; et, dans ses 
profondeurs, 

Un mystère d'horreur s'accomplit. 

Chœur. O terreurs ! . . . 
(Dans le ciel.) 

Séraphins Inclinés Devant le Très-Haut. 
Latis ! . . . Hosanna! 

Elle a beaucoup aimé, Seigneur! 

(Silence. . . Murmure harmonieux.) 

Une Voix dans les Hauteurs des Cieux. 
Margarita ! ! ! 



30 DAMNATION OF FAUST, 

Chorus of Heavenly Spirits. Chœur d'Anges. 



Margaret's Apotheosis. 

Ascend on high, innocent spirit ! 

Once misled by earthly love, 

But now restored to thy primitive beauty, 

Thou shalt see the realms above. 

Come, the heavenly choir 

In joyous strains conspire 

To greet thy ransomed soul 

In the courts of the blest, 

By tribulation tried, 

Thy faith and hope have saved thee 

From the world's raging tide. 

Rise, oh Margaret, rise ! 



The End. 



Apothéose de Marguerite. 

Remonte au ciel, âme naïve 

Que l'amour égara ; 
Viens revêtir ta beauté primitive 
Qu'une erreur altéra. 
Viens, les vierges divines, 
Tes sœurs les Séraphines, 
Sauront tarir les pleurs 
Que t'arrachent encor les terrestres douleurs. 
L'Eternel te pardonne, et sa vaste clémence 
Un jour sur Faust aussi peut-être s'étendra. 

Conserve l'espérance 
Et souris au bonheur. Viens, viens, Margarita ! 



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